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The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania.

The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania. The album (10 x 13.5 cm) is in relatively poor condition and has a missing album cover. Image formats include carte de visites and tintypes, and most of the album pages contain handwritten captions stating names of subjects. Identified individuals include Jerry Yetter, Emily Smith, Emily Yetter, Sam Engle, Lib Engle, Walter Yetter, Hannah Price, Glen Manchester, Jennie Augustine, Charles Yetter, Ruben Yetter, and Ida Yetter. Sam Engle appears dressed in the uniform of the 3rd Pennsylvania Heavy Artillery Regiment. Also present is a single loose carte de visite studio portrait by Charles Eisenmann of the German circus performer dwarf siblings Augusta and Herman Rice which was likely produced during the late 1880s.

The York ship log contains daily entries chronicling the packet boat's journeys between the United States and Great Britain between 1825 and 1828.

The York ship log contains daily entries chronicling the packet boat's journeys between the United States and Great Britain between 1825 and 1828. The first entry, dated March 19, 1825, marks the beginning of the ship's regular service between New York City and London, under the command of William Baker. Approximately 50 pages cover the boat's travels along this route, with daily entries recording wind direction, weather conditions, and notable events on board. On July 4, 1825, the author wrote about a celebration in honor of Independence Day, when the merchant ship fired a salute. The entries he made in port often relate to the loading of cargo or passengers. In January 1826, the York received a new captain, Nash de Cost, and began sailing between New York City and Liverpool; the remainder of the volume covers the ship's journeys along this route. The author's remarks focused on seamanship, weather, and activities in port, though several entries from October 1826 reflect the difficulty of keeping the sailors onboard; some were reported to be "on shore without liberty" throughout the period. The last entry, on June 24, 1828, noted that the York was moored at Prince's Dock in Liverpool, ready to embark for the Atlantic crossing. The final 2 pages of the volume include accounts of provisions for the ship for the year 1828.

This volume includes the records of the Young Ladies Union Society from 1826-1842, a benevolent society primarily comprised of unmarried women who sewed items to raise money.

This volume includes the annotated constitution of the Young Ladies Union Society, annual reports from 1826-1842, informal minutes from 1827-1842, and a list of members. The minutes, which were kept by the secretary, (often a new woman every year), include information about when and where the women met, what work was accomplished, what books purchased, what letters and monies received, as well as personal news about the membership. There were occasional gaps when the society did not meet.

The mission of the organization was to "extend the usefulness of its members, by meliorating the condition of mankind," which they did by raising money in order to donate it to worthy institutions and benevolent societies. The young women raised most of their money by sewing fancy articles, which they then sold to individuals. Much of their time was devoted to making "false collars" and shirts for men, and they often had orders to fill. They also made other gewgaws, like "oak leaf needle books with acorn emerys attached to them," embroidered caps, stockings, and most mysteriously, "an invisible," which might be some unmentionable piece of men's clothing (p.41, 47). The ladies also made things that they donated as gifts in kind, including lamp shades for the Presbyterian Church and clothing for missionaries to the Sandwich Islands. The Society raised the most money during the two years it participated in the Christmas Fair.

1834 through 1836 was the golden age of the society, when they had the most members and the most money to give to worthy causes. Early donations had included $10 to the theological department at Yale (p.7) and $30 to pay for the new pastor's membership in the Home Missionary Society (p.12). In 1833 they determined to raise enough money to give $10 to each of the following organizations: Sunday School Union, Colonization Society, American Bible Society, Seamens Friend Society, American B. C. F. M., American Tract Society, Education Society, Female Benevolent Society, American Home Missionary Society, as well as "Objects of Benevolence at Home" (p.43). Although they did not quite meet their goal, they felt they were "stimulated to exertion by it," and at the next annual meeting, again resolved to raise $100 for "benevolent objects," which they did succeed in doing (p. 54).

Missionaries were of particular interest to society members. The ladies gave money directly to Mr. Ruggles, a missionary to the Sandwich Islands, who thanked them by sending the society "some pieces of cloth made of bark" once he had returned to the mission (pp. 57, 60). The members carefully divided the tapa cloth among themselves. When a local boy, Amos Cook, decided to follow in Mr. Ruggles' footsteps, the society gave him $10 (pp. 59, 64, 65, 71).

Society members also resolved to improve their minds as they sewed, and over the years they experimented with reading aloud The Improvement of the Mind by Isaac Watts, reciting lessons, and delivering compositions or sentences based on words selected at the previous meeting. In later years, gentlemen seemed to attend the Society meetings more regularly, and sometimes the visitors disrupted the lessons. At other times, the men participated, reading compositions, or providing the group with words for their sentences, as a western visitor did: "He gave out these words for our next meeting. Amplitude Contemplation Philomathian Expatriation" (p. 64). In 1836 the Society adopted the idea of "reading the Bible, accompanied with prayer and singing a hymn at sunset," which proved to be a popular exercise (p. 59).

During the summer of 1836, the society selected five poor children "with the design to educate and clothe them, hoping to raise them from their degraded situation and make them useful and happy" (p.60). After the Depression of 1837, the Society increasingly concentrated on local benevolence efforts, and their contributions to organizations were far more modest.

On top of the challenges of the economic depression, which dried up their orders and stopped the Christmas Fair, the society was also continually losing members to the state of holy matrimony. Although a handful of married women continued to be members, many moved away with their husbands, or became too involved with their own housekeeping to sew the day away for other people. Death also took its toll, and the members particularly grieved to hear of the death of longtime member Sarah Clark, who had moved to Marietta, Ohio after her marriage to Mr. Andrews, and died shortly after giving birth (p. 84).

This volume holds 15 sets of minutes taken at meetings of the Youths Literary Society, along with manuscript and newspaper copies of recipes and household cleaning tips.

This volume holds 15 sets of minutes taken at meetings of the Youths Literary Society, along with manuscript and newspaper copies of recipes and household cleaning tips. The first 4 pages contain a copy of the organization's constitution, which states its intention "to cultivate and improve the literary talent of, and encourage all good and noble sentiments in its members," and lays out several basic rules for its general membership and officers. Three pages of bylaws follow, concerned primarily with the structure of individual meetings and drawing heavily on rules previously established by similar groups. Meeting minutes, usually one or two pages long, follow a gender-divided list of the society's members, and chronicle the group's activities over the course of 15 meetings, with the final entry dated May 25, 1867. The remainder of the volume contains manuscript recipes and newspaper clippings; most of the recipes are for cakes and other desserts, though four refer to medical complaints. In addition to the manuscript recipes, a number of newspaper clippings from the 1880s provide recipes and housekeeping information. Of note is a clipping containing George Wilson's cure for cancer, which uses sorrel. The final pages of the book contain knitting instructions, as well as a recipe for duck feed.

The Ypsilanti State Normal School photograph album contains 20 photographs of teachers and students associated with Ypsilanti State Normal School (now known as Eastern Michigan University).

The Ypsilanti State Normal School photograph album contains 20 photographs of teachers and students associated with Ypsilanti State Normal School (now known as Eastern Michigan University).

The album (15 x 11.5 cm) has black leather covers with “Cartes De Visite” gilt-stamped on the front and a metal locking clasp. An “Index to Portraits” appears towards the front, though it does not match the current arrangement of photographs. A total of 18 cartes de visite and 2 tintypes are present.

The first image in the album is a view of two buildings captioned “Ypsilanti State Normal in 1876 when Mr. & Mrs. M. J. Erwin attended.” Subsequent photographs consist entirely of individual and group studio portraits, all of which include handwritten captions identifying people and in some cases occupations, dates, and locations. Persons pictured include Ypsilanti State Normal School teachers, administrators, and students as well as individuals associated with the McKibbin and Erwin families of Commerce and Southfield, Oakland County, Michigan. Portraits of superintendent Joseph Estabrook, geography instructor Anna Cutcheon, science instructor J. A. McLouth, and preceptress Ruth Hoppin are all included towards the front of the album.

The signature of “John McKibbin” appears on the album’s first page. A man identified as John McKibbin also appears in three photographs, one of which includes an additional caption in differently colored ink that reads “My Brother.” The additional caption was likely written by McKibbin’s sister Mary C. McKibbin Erwin, whose portrait is also included alongside one of her husband Matthew J. Erwin. All three individuals attended Ypsilanti State Normal School together.

This is the official collection of Central Michigan University’s Orchesis Dance Troupe, and also documents the CMU career of its found, Yvette Birs Crandall, and her impact on Orchesis and its students, performances, practices, workshops, and social events, mainly 1967-2010, with a few materials postdating that through 2023.

This is the official collection of Central Michigan University’s Orchesis Dance Troupe, and also documents the CMU career of its found, Yvette Birs Crandall, and her impact on Orchesis and its students, performances, practices, workshops, and social events, mainly 1967-2010, with a few materials postdating that through 2023. The collection also includes a small amount of material documenting earlier CMU dance instructors, including Grace Ryan, country dancing classes, and performances, formal dances, possibly Sadie Hawkins dances, as well as social dances at CMU, 1928-1967, in photographs and a scrapbook, which Crandall likely inherited from prior CMU instructors. Yvette’s Wisconsin and CMU University papers and research materials, related to movement and dance, and photographs of and clippings about her (see Box 1) and her published reviews on music, dance, and theatre in the Midland Daily News, 1991-1992 (see Box 5) complete the collection. A list of performances was compiled by Archivist Marian Matyn from documentation in the collection and is found in Orchesis, Programs, 1969-1979 (in Box 2).

Nearly complete, the collection provides excellent documentation of Orchesis and how crucial Crandall was to its success and vitality. All aspects or Orchesis are documented in this collection including advertising, auditions, welcoming or “initiations” of new members, graduating senior events, performances, choreographer’s workshops, social events, travels, competitions, training, backstage preparations, classes, costume and makeup design, choreography, , and participation in CMU events such as country dancing and doing dance movements after a float in Homecoming parades and dancing in Madrigals. Orchesis also performed at various local institutions, such as Mid-Michigan Community College. In 1969 Orchesis performed Peter and the Wolf, for which they received hand printed thank you notes and hand drawn art from elementary school children at Longview Elementary School in Midland, Michigan. Because the children’s materials was very acidic, they were photocopied. In the early 2000s Orchesis performed with Dance Umbrella dancers. Dance Umbrella is an international modern dance festival.

The collection also provides important evidence of how one woman successfully built and expanded a nationally recognized modern dance company from scratch composed mainly of female students. When compared to the CMU Athletics collection, it is clear that she did not have the resources nor the support accorded the more traditional recognized athletic programs which merited CMU published programs and posters, so Crandall and her daughter, Rebecca Crandall Folt, designed and made Orchesis posters and programs themselves by hand. The lack of official CMU photographs in the collection is also interesting and unusual among CMU collections. Crandall paid private photographers for the professional, non-CMU photographs.

The collection is organized by size, format. and then alphabetically and chronologically within each series. Photographs are further organized by those with and without negative numbers. The paper-based and photographic series (Boxes 1-5 which are all .5 cubic foot boxes) are: Biographical Materials, Orchesis materials, Photographs that are not specific to Orchesis, and Crandall’s published reviews. There are two oversized scrapbooks document dance at CMU, 1928-1967, and CMU Orchesis, 1968-1971. The three oversized folders include CMU Orchesis posters (Folder 1-2) and oversized Orchesis professional photographs, both black and white and color, undated. Additionally, photographs are further organized within folders by those with a negative number or date/time stamp and then those without. Overall the collection is in very good condition except for the acidic contents of the scrapbooks and a few posters with tape stains or have hole punctures. Most of collection, as donated, was original material, but some were photocopies. Formats in the collection include paper, original art, photographic materials, including two DVDs, and scrapbooks

Recordings:

In March 2024, Orchesis recordings were donated (see Boxes 6-12, which are all cubic foot boxes). The recordings are organized chronologically and document Orchesis concert performances, workshop performances, Madrigal dinner concerts, “Puttin’ On The Ritz” events, Swing Club, and dancing in Homecoming parades, and liturgical dances. The recording formats include Ampex, Karex, Memorex, and Sony five- and seven- inch helical video tapes, VHS videotapes, CDs, DVDs. And Sony Mini Discs. Warren Crandall recorded most of the recordings, but there are some recordings created and presumably copyrighted by Kabobel’s Kamera and Heitman Video Services, that Yvette paid for, and one that is a gift copy from a Channel 9 and 10 News segment. None of the recordings were created or copyrighted by CMU.

Besides the Recordings, other major Orchesis series include Photographs, Programs, and Posters, which merit further description to assist researchers.

Photographs:

Photographs, 1940s-2010, 2023, in the collection are from multiple photographers, both professional who hold copyright, and amateurs. CMU copyright of photographs taken by CMU Photographer Robert Barclay are few and found interfiled with other photographs dated 1981, 1993-1998 and 2000-2006. Bryan P. Wallace, a professional photographer, took all the photographs which are stamped with his name and copyright information, 1986-1987, including all the galley proofs and related negatives. Other photographer’s names are occasionally found on photographs, while others are unidentified. Most of the professional photographs are black and white until the 2000s. Amateur photographs taken by those in the company and probably also by Yvette document individuals, groups, travel, social events, performances. There is one photograph of the liturgical dance troupe in 1973 in Muskegon with a priest. There are also photographs of a country dance troupe in costume dancing during a CMU Homecoming parade, 1989. Part or all of the company traveled to various trips to cities including Washington, D.C. and Milwaukee, Mid-Michigan College, and Western Michigan University, to perform and participate in regional or national dance events. The company also had summer picnics, a welcoming event, referred to as the initiation, for new members, and a graduation recognition event after the show of the academic year with a cake where each graduating senior receive an award, hug, and the applause of peers. Within folders photographs are sorted by those with a negative number or date/time stamp and those without. Those with additional identification, especially amateur photographs, with a specific event and/or a year date, are in separate folders. Some people, dates, and events are identified in photographs by labels or writing on the back of photographs. If the labels were loose or detached, the Archivist wrote the information in pencil on a piece of acid-free paper and included that in the photograph sleeve, and withdrew the original label or note.

Programs:

CMU Orchesis programs, 1969-2010, are nearly a complete and include mostly Orchesis events: Choreographers Workshop Performance, all concerts, “Puttin’ on the Ritz” events, CMU Madrigal dinners, and Choreographers Workshop Performances, dance competitions, events outside of CMU that she choreographed or advised, and a Church program, featuring CMU liturgical dancers, December 3, 1978. The programs vary in size, format, and materials, and some were photocopies when donated. Those listed as ‘Program’ are only the list of dances and performers. During the 1970s many of the early programs and posters were hand drawn or written in penmanship. Both programs and posters featured photographs from the past. Sometimes there are matching illustrations for programs and posters.

Most of the programs were dated, some with dates written on them by Crandall, when donated. Depending on the information in the program, Archivist Marian Matyn looked up names and information online in digitized CMLife, and reviewed perpetual calendars to try to determine the year for undated programs, and matched materials to posters or other information in the collection. To assist with the process the Archivist generated a list of performance dates from the programs which she added to the collection. Many Orchesis performances were not listed in CMLife. Overall the programs are in excellent to very good condition.

Posters:

Posters, 1970-2010 in the collection are mainly Orchesis posters for Auditions, Choreographer’s Workshop, Dance Concerts, and “Puttin on the Ritz” events and are almost a complete run. There is also one Orchesis Fall 2008, Dancers Photographic collage poster, 2008, which Yvette crafted. The posters vary widely in size from 8.5x11 inches to 30x20 inches, in shape, colors, and format including paper, cardboard, and plastic. During the 1970s many of the early programs and posters were hand drawn or written in penmanship. Some posters listed are actually the original drawings and composite information with parts taped and glued to paper or cardboard from which posters or printed copies were made. Crandall appears to have created many of these posters by hand. Both programs and posters featured photographs from the past. Sometimes there are matching illustrations for programs and posters. Posters are housed in two Oversized folders. Oversized Folder 1 contains all concert performance posters in chronological order and the collage photographs poster. Oversized Folder 2 includes Oversized art, and all remaining poster series grouped alphabetically by series, then chronologically within each series.

Many posters lacked a year date as published. Depending on the information on the poster, Archivist Marian Matyn compared the information to the programs, and then followed the process she used to determine program year dates. (See that process above.) She wrote years on the posters in pencil. If there is more than one year during Yvette’s CMU career that the poster could date from, the year is in square brackets with a question mark.

A few posters have tape attached, while others have tape or hole damage from being pinned, and one, CMU Faculty Dance Recital, (taped, tape stains and term schedule in pen and marker on revere), September 21-22, 1972, has the term schedule written in pen and marker on the back. Overall the posters are in excellent condition. Most of the photographs donated were originals with some being photocopies.

Also included are posters of events in which CMU dancers participated. These posters include dance festivals, for the now American College Dance Association, 1979-1980, and the Great Lakes Regional Dance Festival, 1991 and 1999, and CMU Madrigal Dinner Concert posters, 1986, 1988-1994. The Madrigals occurred annually at CMU, 1977-1992.

Included with the posters is one oversized original art piece. There is also a folder in Box 2 of a few original hand drawn Orchesis art. The oversized image does not appear in posters nor programs. It is similar to a hand drawn image on the front page of the 1968-1971 scrapbook.

Researchers Note:

Researchers may also be interested in other collections documenting Grace Ryan and Rev. John Goodrow in the Clarke. The CMU Posters collection contains one early Orchesis poster and some Madrigal posters found in Crandall’s Orchesis collection.

Processing Notes:

Approximately 5 cubic feet of paper and audio-visual materials were withdrawn during processing. This includes duplicates, undated and/or unidentified, or very dark or damaged photographs, acidic materials, empty envelopes. If there were larger and smaller versions of the same poster, the smaller version was retained in the collection and the larger version was withdrawn. Acidic materials, except for the pages and contents of the scrapbooks, were photocopied, and the copies were added to the collection while the originals were withdrawn. .75 cubic feet of nationally recorded and distributed LP dance records were withdrawn. Family photographs were returned to the donor. Three cubic feet of recordings were withdrawn during processing, including duplicates, rehearsals, personal recordings of television dance programs and music CDs, non-CMU produced dance instructor videotapes, and unidentifiable, inaccessible, and very dark recordings.

The Zaccheus Brown notebook contains information compiled between 1782 and 1783 on arithmetic, sailing and navigation, and surveying, as well as a log of the Phoenix's voyage from New Jersey to the Virgin Islands in 1789. Mathematical and navigational problems are often illustrated with diagrams, and the volume also contains an example of a Mercator chart of the Caribbean.

The Zaccheus Brown notebook (175 pages) contains information on arithmetic, sailing and navigation, and surveying, as well as a log of the Phoenix's voyage from New Jersey to the Virgin Islands in 1789.

The first 112 pages, compiled from 1782-1783, are comprised of information about mathematics and sailing and contain a brief ship's log. Mathematical subjects include square and cube roots, geometry, and plane trigonometry; Brown copied and solved mathematical problems, which are often illustrated with diagrams. Instructions for aiming cannons appear in the section about trigonometry. Brown also described sailing methods such as plane, traverse, oblique, Mercator, parallel, middle latitude, and current sailing, as well writing instructions for turning a ship windward and for determining location. The parts of the volume concerning sailing also contain problems, diagrams, and an example of a "Plane Chart" and "Mercator's Chart." The Mercator's chart shows the locations of islands in the northern Caribbean Sea. The notebook's other subjects include the compass, calculating the phases of the Moon, and the Gregorian calendar. A final section pertains to surveying.

Zaccheus Brown's notebook also contains logs concerning the voyage of the Endeavour (9 pages) and the schooner Phoenix (58 pages). The Endeavour log, attributed to "L. H," notes the ship's journey "from the Cape" in late June and early July 1783. The Phoenix log details Brown's voyage from June 17, 1789-September 1, 1789 from Salem, New Jersey, to the Virgin Islands and back to Virginia. Some of Brown's daily entries about his voyage on the Phoenix include charts recording the ship's course and position, along with additional remarks on wind speed and direction. Brown occasionally discussed other aspects of his voyage, such as the pidgin language spoken by the ship's Dutch crew and his premonitions after bad weather and delays. He also described the port and the island of Saint Thomas, a Dutch colony (currently part of the United States Virgin Islands).

The volume contains illustrations of a man in the sun, a compass rose, and a fish and man; the latter drawings are flourishes on the heading for the section of the book on cube roots. The back endpaper includes a table of angles related to navigation.

This volume is a 14-page diary of Zachariah Taylor Cooper of East Montville, Maine, which he kept between May 1 and June 26 of 1875, documenting his work as a beekeeper. He bought and sold bees, built and painted beehives, discussed bees working and swarming, drove sheep, and engaged in other farm work. On June 3, he mentioned that a freeze killed most of the bees in the area. The remainder of the volume contains around 65 pages of farm accounts by an earlier owner in or around Bridgewater and Canton, Massachusetts, 1836-1874. Accounts include entries for shoes, oxen, hay, cattle, potatoes, wheat/grain, apples, sugar, molasses, butter, milk, and labor.

This volume is a 14-page diary of Zachary Taylor Cooper of East Montville, Maine, which he kept between May 1 and June 26 of 1875, documenting his work as a beekeeper. He bought and sold bees, built and painted beehives, discussed bees working and swarming, drove sheep, and engaged in other farm work. On June 3, he mentioned that a freeze killed most of the bees in the area. The remainder of the volume contains around 65 pages of farm accounts by an earlier owner in or around Bridgewater and Canton, Massachusetts, 1836-1874. Accounts include entries for shoes, oxen, hay, cattle, potatoes, wheat/grain, apples, sugar, molasses, butter, milk, and labor.

The Zael Ward notebook contains notes on civil cases that Ward heard as justice of the peace in Harmony, New York; financial accounts; and records of marriages he performed in Harmony, New York, and Cottrellville, Michigan.

"Zael Ward's Docket Book" (164 pages) contains notes on civil cases that Ward heard as justice of the peace in Harmony, New York; financial accounts; and records of marriages he performed in Harmony, New York, and Cottrellville, Michigan.

The first 5 pages consist of miscellaneous notes, including a mention of a bee swarm (p. 1) and a state-by-state list of election dates for an unspecified year (p. 2). Pages 6-61 contain notes on court cases that Ward heard as justice of the peace in Harmony, New York, between January 28, 1833, and May 22, 1837, concerning financial disputes. The cases are organized chronologically, and record the names of the involved parties, a brief recapitulation of the dispute, and the amount of any damages awarded. Pages 60-62 also have brief journal entries made in 1833, 1838, and 1841, and the remainder of the book contains Ward's personal financial accounts between 1837 and 1842 (pp. 63-141 and 154-163), interspersed with additional notes.

The first several pages of accounts (pp. 63-68) concern boarders who stayed with Ward in 1838 and 1839, as well as miscellaneous labor costs. The vast majority of the transactions record the purchase of foodstuffs and other items, most often meat, fish, potatoes, sugar, flour, and butter, as well as payments for labor and household items. Additionally, Ward documented his financial accounts with specific individuals, frequently noting the dates of settlement, often in the early 1840s. Scattered among these accounts are a set of travel and labor costs charged to St. Clair County, Michigan (p. 85); a legal memorandum dated at Chautauqua County, New York, on September 1, 1834, regarding an illegal alcohol purchase (p. 128); notes that Ward paid a school tax (p. 130); and the abbreviated text of a petition (p. 140). Ward also kept a list of marriages he performed in Harmony, New York (March 7, 1833-October 20, 1836), and Cottrellville, Michigan (July 23, 1842), on pages 142-152.

The Zelona Eaton journal is the diary of a Baptist minister from Troy, Ohio, who was active in the local anti-slavery and temperance movements. The volume is composed of a diary, in which Eaton discussed his ministerial duties and local issues concerning abolition, temperance, fornication, and sodomy (1843-1844); 3 pages of accounts for house-building materials (1843-1844); 9 philosophical essays with an introduction (undated); and 2 letters addressed to Lottie Churchill of Washington, Vermont (1823).

The Zelona Eaton journal is the diary of a Baptist minister from Troy, Ohio, who was active in the local anti-slavery and temperance movements. The volume is composed of a 95-page diary that Eaton kept from October 31, 1843, to September 17, 1844; three pages of accounts for house-building materials (December 1843-January 1844); 8 philosophical essays with an introduction (undated); and 2 letters addressed to Lottie Churchill of Washington, Vermont (1823).

In the diary, Eaton wrote about his daily life (health, food, family, and building a new house) and the activities of his church community in Troy. He wrote descriptions of his ministerial duties, such as travelling to meetings and conferences, visiting parishioners, performing marriages, lecturing, leading prayer meetings, raising funds for missionary work, and writing sermons. Eaton also described his intellectual and spiritual life in Troy. He attended a Millerite lecture (November 15, 1843), a lecture on phrenology (November 9, 1843), and multiple anti-slavery lectures (November 29, 1843; January 19, ,March 2 and 10, April 1 and 27, 1844). He often read the Cross and Journal and the anti-slavery paper The Emancipator, which some of his friends had procured for him. In the fall of 1843, he recorded thoughts on his own spiritual health, writing that he was, "Greatly distressed about my situation in temporal things...I have reason to think God is against [me]" (November 17, 1843). Eaton also kept track of some of his finances, which he worried about frequently, and often noted food and daily house work. He mentioned making sausages and vinegar, and purchasing coffee, cinnamon, buckwheat flour, eggs, rice, and apples.

Much of the journal concerns African Americans and the anti-slavery movement. On at least two occasions, Eaton interacted with two free African Americans: he visited a man named Mr. Newsome and loaned him money, and purchased items from another man named Mr. Smith. Registering the intensity of anti-slavery activities in his community, Eaton described the many anti-slavery lectures, debates, and prayer meetings that he attended. At the meetings, they discussed questions such as whether Congress should abolish slavery in Washington D.C. without the consent of the city's inhabitants, and what people who lived in free states could lawfully do to end slavery in the slave states (December 10, 1843). Eaton also served as the secretary for a group of women who formed a "ladies Society to educate colored persons" (December 3, 1843). He traveled one hundred miles to Brown County to visit what he described as a "Colored Association," perhaps a settlement of free African Americans, reporting, upon his return, that he "was much interested at the Association, mostly by the talent exhibited. They showed about as much attention to me, as an Association would have shown to one of their ministers (September 8, 1844)."

Eaton also recounts several controversies surrounding sex in his community. On March 14, 1844, Eaton wrote that he felt "exceedingly afflict[ed]" to have "Learned of an aggravated case of fornication by two of the members" of his church. A month later he excluded two parishioners from church service "for lewdness" (April 29, 1844). Eaton also gave an account of a case of "buggery." Minister T.A. Warner had "been accused of buggery, but not proved guilty [in a church trial]" and claimed to Eaton not to be guilty (July 25, 1844). Before his church, however, Warner had "Confessed the attempt & attributed it to a habit contracted when a boy." Eaton and a Brother Whitman informed Last Creek Church of the incident "because [they] thought, such a thing had much better go before a man than to come after him" (March 2, 1844) Eaton clearly felt disturbed by Warner’s purported behavior but what is especially noteworthy is the matter-of-fact tone Eaton used in writing about the situation.

Starting at the back of the volume, Eaton wrote 8 "dissertations," with an introduction and a transcript of a letter, that explore moral, religious, and philosophical questions (pages 162-98). Eaton's goal was to "attempt to enter into the immaterial world, & investigate the properties of spirit" (page 160).

• Dissertation 1: Methods, What is meant by a Faculty of the mind? What is meant by a principle of mind?
• Dissertation 2: Understanding
• Dissertation 3: Taste
• Dissertation 4: Will
• Dissertation 5: Liberty
• Dissertation 6: Natural & Mortal Agent
• Dissertation 7: Good and Evil: Dr. Hendrick's Lecture on Good and Evil
• Dissertation 8: Difference between Natural good and evil & Moral good and evil

Many of the essays have commentary labeled "Dr. Henricks Remarks" or "Professor's Remarks." These are brief notes and criticisms of the essays.

The two letters are addressed to Lottie Churchill, wife of Arthur Churchill, of Washington, Vermont (1923). One is from her cousin Cretia from Walla Walla, Washington (3 pages), and the other is from her friend Estella, from Morrisville, Vermont (8 pages). Both letters focus on personal news and mention food and cooking.